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Issue 1
The script outline for Issue 1 Page 1: full page panel. Inside a large domed building. It’s a temple for the god we’re going to kill. Think Greece meets Turkey for the style, with bits of gothic. It has a big circular room in the center (the dome), with 4 rectangular corridors branching out in each direction. At the end of each corridor there are large wooden double doors. But it’s all one large room. The corridors are flanked by arched pillars, where torches are light. There is a large hole that makes up almost the entire floor of the circular center, with only a meter wide ring around it for walking. It’s night time and the room is grey, the only light is coming from the torches and two candles sitting on the floor. Each candle is beside a hand of a priest. The priest is on his knees, facing the large circular center of the room, and situated at the precipice of the hole. His back is arched back, his head facing up towards the peak of the dome, and his hands are outstretched loosely to his sides, almost brushing the ground and giving his body a triangular shape. He is dressed in a grey robe, hood thrown back and sleeves rolled up past his elbows. The candles beside his hands are pure white, with an unnatural grey flame. Thin black smoke snakes upwards out of sight. The entire priest is lower than the halfway point of the page; the perspective is from his eye level, directly behind him. Textbox in the top left corner: “Faith.” Textbox on the ride side, partway down from the top: “The faith of one, defines a life.” Textbox on the left side, just below halfway down: “The faith of thousands…” Textbox in the center, just below the priest: “defines a God.” Page 2: Panel 1: This is a thin panel on the far right side of the page which goes from top to bottom. All it has is one of the candles from the previous page, and a long column of smoke snaking up. The candle is half melted. The panel width is just slightly larger than the candle. Textbox, at the top, straddling the line between panels 1 and 2: “It is faith which creates the Gods, and it is the absence of faith which will destroy them.” Panel 2 and panel 3: These panels are side by side at the top of the page, to the right of panel 1 they are about ¼ of the page in height. They are as if there was one panel, with a diagonal line slashing from the right at the top, to the left at the bottom. Obviously not corner to corner. The panels look more like right angled Trapezoids. (Side note: I think I’m going to enjoy writing this mostly because it’s completely different from what I usually write style wise. And I get to use weird descriptions.) Anyways, the left panel shows a side view of the first page, framed by two of the pillars that flank the corridor the priest is kneeling at the end of. In the foreground, between the pillars but on the opposite side of them from the priest, are two other priests that are talking. The right panel (panel 3) shows an outside view of the temple, from the sidewalk across the street. There is no snow on the ground but there are flakes of it drifting around in the air. There are pedestrians on the sidewalk right outside the temple, and there is a couple on the sidewalk opposite (where we are looking from). They take up the left side of the panel and you can only see from neck to waist. Since it is sort of snowing, people are wearing jackets and scarves, but not winter coats, and no hats or gloves. Textbox, bottom right corner of panel 3: “Faith is both the process and the result, the God acting only as focal point.” Panel 4: below panels 2/3 and to the right of panel 1. This reaches from panel 1 to the right edge of the page and is ¼ the height of the whole page. We are inside a café, focused on a booth beside the windowed façade, through which we can see the temple and the pedestrians from panel 3. It is as if we just pulled backwards from panel 3, right through the window. A man is sitting at the booth, alone. The panel reaches from just below the table, to around the man’s shoulders. The panel is very wide but not too tall. He is holding a cigarette in one hand, the other grasping a tall glass of water which he has not lifted from the table. His hands are old but strong. There is a slice of pie, half eaten, in front of him. Farther on the table there is an empty ashtray. This man is the ex-priest, and will be the lead character of this issue. He is wearing a grey hooded trench coat, the hood is down. Underneath he has a white collared shirt, which while we can’t see, he wears with the sleeves rolled up. His pants are black, and coupled with the extreme paleness of his skin; he looks to be lacking all saturation. Textbox, center of panel 4: “But not all faiths are benevolent, and sometimes an abomination is created in place of a God.” Textbox, bottom right of panel 4: “And when that happens, well…” Panel 5/6/7: These are all square panels, all the same height ( ¼ of the page), and together they make up the same width as panel 4, of which they are directly below. Panel 5 is a close up of the water glass, it is empty. Panel 6 shows a close up of the piece of pie, it is still only half eaten. Panel 7 shows a close up of the ashtray, cigarette hanging over the edge, money for the bill tucked under. Panel 8: This is an exact copy of Panel 4, with some changes. The objects on the table are how they appear in panels 5-6-7. The man is now outside the café, visible through the window as he walks towards the temple. He is halfway across the street. His hair is grey, and he is facing the temple so we don’t see his face. Textbox, bottom right of panel 8: “…sometimes you need to wipe clean the slate, and start over.” Page 3-4(-5?): I don’t know how you want to do this one, but the basic idea is I want to have the ex-priest in mid-air, all action movie style, twin guns pointed out, legs pulled up, maybe one kicking; just a general badass action pose. He’s in the air because he just broke through the front of the temple, by jumping at it. There’s rubble all over the place, chunks of concrete flying, tons of dust. Ex-priest is like almost on top of that priest who was kneeling on the ground, and that’s who his guns are aimed at. This priest is still on the ground but he’s like half turned backwards with this panicked look. Other priests are ducking and trying to flee etc. Anyways, like I said I don’t know how you want to split this up. Maybe stick a frame in first of the door from the inside with cracks emanating outwards just at the point before it breaks open, like the guy just hit it. Maybe you want to show some reaction shots of faces or multiple angles of the mid-air jump frozen in time. Maybe you want to go crazy and bust out with a full 2-page spread for this thing to really push that action. Just don’t make the pose too cheesy. I’m leaving you 3 pages for this scene. There’s no dialogue or commentary (unless I decide it’s too empty, but we’ll see) so you can just go crazy with the action. This ex-priest is coming in here to kill every acolyte, priest, whatever, in this temple. So you can show him maybe landing on that kneeling priest and popping some into this head, be a little gory maybe, this isn’t a kid’s book. Then you can have some shots of him shooting priests, or killing them other ways, it doesn’t matter. Ex-priest can have a short sword (like half katana length) so you can have him slicing dudes up. Maybe you want to only do a single page for the early stuff like the jump/wall break thing, and then you want to 2 page, single panel spread for a shot of him almost done the massacre. Bodies all spread around, a face in the foreground splashed with blood and wide-eyed with this look of horror and pain or something. Alright I decided we should probably put in some writing. It’ll be just text boxes; you can place them wherever you want through the fight panels. So here it is: “With practiced calm and grim determination, a once priest of The True Voice carved a jagged wound through the temple he once called his own.” “He felt no remorse as he worked his way from High Priest down to lowly acolyte. No believer was beneath his judgment, and none could escape his grisly offer.” “For the priests had no choice but to defend their faith, and when war is waged against a God…” “…the only outcome is destruction.” Page 6 (maybe page and a half? Depends how much text you can fit without hiding the art): Alright, establishing shot of the temple from the outside. The shattered doors are visible. Around the doors are various uniformed cops and some detectives, the area is blocked off by barriers and cops and cruisers. Reporters and cameras fill the area outside the barricades. Inside the building, bodies strewn everywhere, blood cakes the walls and covers the floor. Forensic scientists move amid the dead collecting samples, taking pictures, writing notes. In the center of the hall stands two detectives. One in his mid-fifties (I’ll call him Reynolds), the other fresh off the beat, late-twenties. The young one is covering his nose and mouth with his sleeve. Reynolds is surveying the scene. Reynolds: “Shroud’s eyes, this is a damn mess.” Young Detective: “Not a one left living neither. I tell you, ain’t a good night for believers of this faith.” Reynolds: “Hmph, don’t let the dogs hear that or The True Voice will see a sudden drop in new converts.” Young Detective: “S’fine with me. Any faith with ideas like theirs just don’t make sense.” Reynolds: “It’s an easy faith to believe in. When you believe that all God’s are just different voices of a single God, you’re pretty much covering all your bases.” At this point the two detectives are turned around and are heading back outside. Young Detective: “Don’t go telling me now you’re a believer. S’pecially not tonight.” Reynolds: “Hah, only one faith for men like me.” Alright so here’s a panel from across the street of the temple, broken doors in the center of the frame, all those people still milling around outside. The two detectives are standing just outside the temple, top of the steps leading to the door, framed by the broken door itself. Reynolds lights up a cigarette. Young Detective: “Yeah? What’s that?” Reynolds: “Only thing worth believing in. Death.” Okay so this is going to be the start of a new scene, probably you’re at the half way mark for page 7? If you took 1.5 for the last section. Anyways, I want a panel filled with a newspaper, probably at an angle on a table. Paper’s called “National Faith” and filling most of the front page is a big black and white photo which is an exact reproduction of the previous panel (detectives framed by door outside temple), with the headline “God Struck Mute” Sub-header “Massacre in a temple of The True Voice”. We’re inside a smallish office. There are two desks in the room, both covered in papers. Think Daily Bugle kind of look, but this isn’t a news office. There are a couple of doors leading off the room. The wooden kind with the window in the upper half where names and job titles are written in brown, but we can’t read any of them. Sitting on top of one of the desks is a guy, early to mid-twenties. He is holding the newspaper from the previous panel and is looking down at it. Sitting on the chair at the other desk is another man, late thirties to early forties, holding a cup of coffee. By the wall there is a coat hanger with a hat and coat hanging on it. The young man is named Tenner, and is one of our main characters. He is a scribe of religious texts and this is where he works. Maybe make him Asian since we probably need some multiculturalism ahah. Tenner: “Well we’re in for a busy couple of weeks.” Coworker: “Why do you say that?” Tenner: “Did you not see today’s paper? Shit like this definitely makes for more scribe work for the faiths.” This is probably where the page will get split, so start of page 8, maybe. Coworker: “I’ll give you that it’s not good, but unless a new temple pops up that needs some religious texts written out, I just don’t see it hitting us that hard.” Tenner: “You don’t think The True Voice will want to ‘update’ their texts a bit now? Better to protect themselves from this sort of thing happening again?” Coworker: “Come on Tenn, what are they going to do, get us to put a mandate for martial arts training in their holy laws? People wouldn’t go for that, it’s not how the world works.” Tenner: “That’s exactly how the world works. You don’t find it hard to swallow that everything the faiths preach, everything that the faithful believe in, we wrote while sitting in this office.” Coworker: “Whoa, hey. We only write what they tell us, it’s not like we’re misleading anyone here, Tenner.” Tenner: “I’m not convinced, but hey, I wouldn’t be working here if I didn’t think that at least part of what we do is right.” Coworker holds up a finger of his left hand, as he writes on a small piece of paper with his right. Coworker: “You need to get off the heavy jobs Tenn, before you go crazy. I’m giving you a nice easy project. Take your mind of things.” He hands Tenner the paper. Tenner looks at it. Tenner: “Hmph, what does the Shroud need with a scribe? You could probably fit all of the faithful in one room. Why believe in a God whose only job is Death when all the other faiths have an afterlife anyways?” Coworker: “Hah! The guy with no faith thinks he’s an expert of faith itself!” Tenner: “Funny. And I’m sure you’re the guy who’s going to educate me?” Coworker: “Not Likely. Now go get on that Shroud business, that old priest doesn’t get many visitors and I’m sure he’d love to talk to an opinionated young scribe such as yourself.” Tenner grabs his jacket and hat and turns back to his coworker. Tenner: “I thought this was supposed to be an easy job.” It’s a lot of dialogue for one page, but since there isn’t really much action going on, I don’t think it will matter if we saturate the page with text. It’s basically just them sitting in the office talking. Page 9 (?) This whole page I want the “camera” fixed. As if it’s on a cart moving along rails in the center of the street, but the camera is facing towards the sidewalk. So the angle and distance never changes, but we’re slowly tracking to the right as we follow Tenner’s walk to the temple, and eventually pass him. Tenner is standing outside his office building. It’s a short 4 story brick building, stairs up to the front door. New York style. He has his coat on. He looks down at the piece of paper in his hand and then stuffs it in his pocket and starts walking right. He stops and buys 2 street meat. He keeps walking to the right along the sidewalk. Street Meat Vendor: “Have a good one.” Tenner has passed a homeless guy sitting on the sidewalk, leaning against a building, cardboard sign beside him. The homeless guy has Tenner’s second dog in his hand, as Tenner eats the first as he walks. Homeless Guy: “Thanks mate.” The cardboard sign reads: “Betrayed by God. Losing faith in humanity.” In capital letters. We see the large temple of the Shroud. It’s large and old and gothic, but obviously has seen a decline in recent years. Tenner is almost at the steps leading up to the giant doors. The camera keeps moving past to the right. We can still see the steps on the left side and Tenner is now standing at the top in front of the doors, one of which is now open with only blackness on the other side. Keep moving right. A family is walking along the sidewalk heading left, the mother is pushing a stroller with a young child, the father is holding the hand of a young girl, maybe 10 or 11. The girl (and her family) are going to show up in the 2nd issue and she will become one of the major characters. The father and daughter are holding shopping bags from downtown type boutique stores, the square paper kind of bags. Keep moving right. We are past the family and are in front of a slim 3 storey building, it looks mostly out of use, except for a light on in a room on the second floor. The camera stops moving right. We show a close up of the window. Through the window we see the back of a black man sitting on a chair in front of a desk, with his feet up. He is another of our major characters. His name is “Kofer”. Across from him is the door to his office. It is closed but you can hear a knock from the other side. Page 10: We’re inside Kofer’s office. Kofer is still sitting in his chair with his feet up, the door is closed but the guy who was knocking has entered and is standing in front of the desk, hands on the back of a chair. It is the Reynolds from earlier in the issue. He is looking harried and disheveled. Reynolds: “Kofer. You know why I’ve come.” Kofer: “I do, though I must say I’m surprised. I thought you disapproved of my…methods.” Reynolds has thrown the chair down to the side and his pointing one hand at Kofer. Reynolds: “Don’t give me that shit. You owe me, and I’m here to collect.” Kofer: “By all means then, sit down and let’s talk.” Reynolds is standing the chair back up as he moves to sit down. Kofer has taken his feet off his desk and is pouring two glasses of scotch from a glass decanter on his desk. (The square kind with the big glass stopper that always shows up in movies and tv shows about the 50’s). Kofer hands a glass to Reynolds who has sat down. Reynolds: “Thank you.” Kofer: “Now, talk.” Reynolds: “We’re running dry on this “True Voice” case. Pressure’s on me to close before it happens again, and I’m running out of straws to grasp.” Kofer: “Odd thing that “True Voice” massacre. Not much coming to light; troubling, but not all too surprising.” Reynolds: “Hmph, want to explain?” Kofer: “As a faith, The True Voice has been doomed from the start. History like theirs, it’s a wonder it took this long for something to snap…” Page 11: This is going to be a sort of recounting of the history of The True Voice, as told by Kofer. He’s talking voice-over because the panels are going to be showing the story as he tells it. I think though, that we’ll do the dialogue in boxes instead of bubbles, since it’s sort of a recounting. Panel 1: A man is standing on a street corner waving around a pile of pamphlets; he looks respectable but somewhat manic. Kofer (V.O.): “The True Voice first hit the public eye only twelve years past. It had limited structure, few leaders, and almost no power; but the idea was enticing.” Kofer(V.O.): “It gained a strong following among college students who enjoyed the lack of rules and rituals, and the unification of the worlds beliefs and Gods into one “True Voice”.” Panel 2: A group of college students are sitting on some grass outside an old building. Think classic college scene from the movies. A man in a grey suit is standing before them, talking animatedly, hands out and with a wide smile. Kofer(V.O.): “ It was very idealistic, and very approachable thanks to the loose belief system, not to mention the ease from which someone could jump from another faith… The True Voice incorporated each of their beliefs.” Kofer(V.O.): “ It sounded perfect, and the faith saw a huge increase in followers in their first 4 years, pushing them up among the largest of the world’s faiths. Of course, all these followers made for an increase in power for the few leaders the faith had, and, as is usually the case, they proved abusive of that power. Panel 3: We’re in a small candle-lit room, the walls masked in shadow. There is a table in the center where a scribe is working intently on his work. We can’t see his face but he’s Tenner. So we’ll show the room either from an angle above their heads, or from behind Tenner, so that we can’t recognize him. Surrounding the table, but only in a half circle in front of the scribe, are 5 grey-robed priests of The True Voice. They have their hands folded in front of them, and their hoods up obscuring their faces. Kofer(V.O.): “ The leaders began crafting stricter rules, more intricate rituals, and a more powerful God.” Kofer(V.O.): “ Not everyone agreed, and the faith saw the loss of many acolytes and worshippers, but the masses stayed, and a new order was born.” Panel 4: We’re inside a temple of The True Voice. It is still being built and there is scaffolding in some places. A massive statue is being erected in the center of the temple, showing a creepy androgynous humanoid with gnarled limbs. Its face is empty and smooth except for a large mouth in the form of a scream. This statue is of their God. Two priests are overseeing the placement of the statue while workers mill about the temple. Kofer(V.O.): “ Of course their plan was not without faults. Creating the rules and rituals that would secure their power, while staying within the original belief system was far more difficult than it seemed.” Kofer(V.O.): “ The worlds Faiths have varied Gods with unique attributes, and in uniting them all, The True Voice created a God that could easily be described as insane.” Page 12: Panel 1: We’re back in Kofer’s office with Reynolds Kofer is leaning back in his chair; Reynolds is running the fingers of his right hand through his hair. Reynolds: “History lesson’s all well and good, but I’m no further in my case, and you’re definitely not making this trip worthwhile.” Kofer: “Don’t be so hasty, I’m merely setting the stage. You need to understand that The True Voice rose quickly but on weak supports. It’s also important to know that the leadership is power-hungry and ruthless, and that not everyone agrees with them.” Reynolds: “Ah, you’re implying that some rogue faction within the church is attempting some sort of religious coup?” Kofer: “I don’t believe that control of the church is the ultimate goal, nor do I believe this is the work of more than one person.” Reynolds: “What?!? That’s absurd. There’s no way one person could bring about this level of destruction.” Kofer: “It’s very possible, albeit unexpected, and it certainly helps narrow down the suspects. As you said, it’s difficult to believe that one person is responsible for all this mayhem.” Panel 2: We’re inside a Chinese restaurant. The Ex-Priest is sitting at a table by the window, through which we can see another temple of The True Voice. A priest is standing at the top of the stairs talking to two women. Inside the restaurant, the ex-priest has a steaming bowl of soup and a plate of noodles in front of him. He has chop-sticks in his hand and there is a full glass of water. Panel 3: Viewed through the glass of the restaurant window, the ex-priest is half way across the street heading to the temple. The people out front are no longer there. Inside the restaurant, the noodles are finished, there are bills tucked under the plate. The water is half drunk and the soup has not been touched. Page 13: The whole page is taken up by a close-up of a newspaper, or maybe a news post on a news website? Depends if we want to go modern or not, I haven’t really decided so we’ll leave it open for now. There is a large picture on the paper showing body bags being loaded into the back of a coroner van outside of the temple from the previous page. : "True Voice Massacres Continue Police no closer to catching culprits" : In a horrifying act of repeat violence, a second temple of The True Voice has been attacked this week, leaving no survivors. Many are calling this the start of a hate-crime spree, and the police are getting nowhere in their search for leads. Detective Reynolds, head of homicide, who is overseeing the investigation, has stated that these are isolated incidences, and we should not expect a third. Vocal critics of Detective Reynolds have cited his faith in The Shroud as a reason for his apparent lack of determination in catching those responsible. The Shroud and The True Voice have had their share of differences in the past and many True Voice faithful have been quoted as saying Reynolds would like nothing better than the collapse of their faith. Reynolds himself has called these allegations ludicrous, and has stated that his commitment to this case is absolute. Detective Reynolds’ intentions aside, it is obvious that the police are investigating all avenues for information. An anonymous informer has said that members of the task force have approached notorious information dealer “Kofer”. We are told that Kofer is the foremost expert on the inner-workings on the faiths. A faithless man himself, he has spent his life with his ears to the ground and a network of information gatherers, amassing vast stores of knowledge on every faith in the city. Continued on pg. 4 There’s another article underneath, we can’t read the text because it’s cut off by the bottom of the page, but we can see the header: “The Voice Finds Its Hands”, with a subheader: “Hired Security oversees worship at temple of The True Voice”. Page 14: Panel 1: Outside of a temple of the True Voice, there are tough looking guys acting as security, flanking the large open double doors. Secret Service type guys, but more vintage. There is a priest in the doorway and he is shaking hands with a man while people mill about around them and on the steps and sidewalk in front of the temple. We can see Kofer leaning against the fence on the right side of the frame. On the sidewalk, walking towards the left is the family from page 9(?) that was walking with the shopping bags. They have just exited the church and are headed along the sidewalk, the mother carrying the young child, the father putting on his hat, and the girl trailing a little bit behind them, kicking at rocks. Panel 2: The family is still walking on the street. The girl is named Eloinn, unless I come up with something better ahah. Eloinn: “The church was larger than our last one.” Father: “Yes.” Eloinn: “Priests were older too, and not as nice.” Father: “You’ll get used to it.” Eloinn: “Not if these ones die like our old ones.” Panel 3: The father has stopped walking and looks sad and resigned. Panel 4: The family has stopped walking. The father is kneeling down beside Eloinn, one hand on her shoulder, the other brushing hair out of her eyes. Father: “They aren’t going to die, peanut. They have all manner of protection now, both physical and that of faith.” Eloinn: “Faith didn’t save the other priests. What makes these ones so different?” Father: “Come now Eloinn, The Voice is not for us to question, we just have to have faith. Now, how about we get some ice cream?” Panel 5: The family has started walking again. Eloinn has paused and is standing, looking back in the direction of the church that they have just left. The wind is blowing. Eloinn: “All I have is questions.” Page 15: Panel 1: Eloinn is sitting on a bench outside of a small ice cream place. Her family is inside the shop. Her ice cream cone is held in her left hand but it’s at an angle and the ice cream is melting away and dripping down onto the bench beside her. She is staring ahead. Maybe show it from directly in front of her, so it looks like she’s staring at the reader, but her stare is unfocused, if that’s possible to show. There is a tree to her left which is casting a shadow over most of the bench. Panel 2: This is a smaller panel that just shows Eloinn’s father standing beside the bench. Panel 3: Eloinn is still sitting but now she’s looking to her right and up at her father who has just sat down beside her. Father is smiling a small smile, but Eloinn looks neutral. Father: “You’re looking rather speculative right now.” Eloinn: “It’s Faith.” Father: “What about it?” Eloinn: “It bothers me, I just don’t understand it.” Father: “… That’s a heavy topic for such a beautiful day.” Panel 4: This panel takes the entire bottom half of the page. It’s a shot from behind the bench, facing the direction that Eloinn and her father are facing. You can just see the very top of the bench, and the two heads, but the majority of the panel is taken up by the sky. There is the ice cream shop on the right side, and on the left is a large tree that takes up most of the left side of the panel. The sun is out in the sky and it’s a clear day with a few wispy clouds. There are white birds flying around in the sky. Eloinn, her father, and the bench are mostly in shadow. Eloinn: “We spend all our life in service to it, but what does faith give back to us?” Father: “Faith provides us with the means and motivation to live a good life, just as it acts as a lens through which we see others.” Eloinn: “I can be a good person without bringing faith into my life, and avoid the corruption and prejudice that so often follows it.” Father: “We aren’t all such perfect beings as you, my dear.” Page 16: Panel 1: Tenner is inside the temple of the Shroud, at a desk in a small room. He is writing out some text on a large coiled scroll with a feather quill. There is a small table with 2 chairs against the opposite wall. Panel 2: Tenner looks up as the old man (priest of the shroud) appears in the doorway to the room, holding a tray with tea. He is Asian maybe? Give him a cool looking beard but maybe no mustache. Old Man: “Well now, I think that’s enough working for today. I brought tea, we’ll talk.” Tenner: “I really should be going…” Old Man: “Nonsense! Come, drink tea and you can tell me stories from your life.” Panel 3: (but you can add more panels since the rest of this page is just them talking.) Tenner and the old man are sitting at the table in the small room. They have tea. Old man is drinking with happy eyes and a closed mouth smile. Tenner: “So… why the sudden need for new texts? The Shroud hasn’t hired a Scribe in 50 years.” Old Man: “Ah, well, we haven’t had much use for one. The faith is in the decline, dwindling members and all that. Not much good having new texts if no one shows up to worship eh?” Tenner: “So why are you having it done now?” Old Man: “Why not? Time is ever-changing, and a faith that does not adapt is a faith destined to fail. Plus, I appreciate the company. It gets quiet around here and its nice having someone other than The Shroud to talk to.” Tenner: “Hah! I can imagine.” Page 17: Panel 1: Tenner puts down his cup of tea. Tenner: “Well, I should probably get going for real this time. This work will most likely take a few days so I’ll be back in the morning.” Old Man: “Alright, don’t let an old man keep you. You only have so much time to make all the amazing mistakes that defines a good life.” Tenner: “You surprise me some times; I don’t really know what to make of that.” Panel 2: Tenner is wearing his coat and putting on his hat. He is halfway through the open door of the temple and is waving back at the old man. Let’s maybe show it from the direction of the old man, with the old man’s back visible as he faces the door. Panel 3: Facing the old man now, as he stares after Tenner who has just left. The room is fairly dark and most of it is in shadow. Old Man: “He’s a good kid. I like him. Intelligent and inquisitive, his eyes are always searching past first impressions.” Panel 4: Same shot as panel 3, but this time a shadow is materializing behind and to the side of the old man. It is The Shroud. The Shroud looks like a thin female with a floor length robe and a hood that hides her face in shadow. She is entirely made out of a shadowy smoke, but more solid looking than real smoke (including the robe). Kind of like she’s solid but it’s bleeding outwards in wisps, and like if you looked at her too close, she would blow away. I want to suggest a cane, but like one of the ones with an orb at the top instead of a handle. And its not used to support, its more decoration. And She holds it placed tip to the ground between her feet and a bit to the front, with one hand placed above the other on the top. She stands perfectly straight. The cane is also of the same look as her robe/body. The Shroud: “He will be of great aid to us. You will teach him.” Old Man: “Yes, my love.” Page 18: Panel 1: Eloinn and her father are sitting on the bench. Her father is leaning back with his arms out along the top of the bench. Eloinn is sitting with her head leaning on her father’s shoulder. Probably drawn from the front. Panel 2: A little bird is rooting around in the grass at the feet of Eloinn and her father. Close up on the bird though so you can’t see anything of the two people beyond their ankles, or don’t show any of them and just have the bird. Eloinn (V.O.): “What role do the Gods play in all of this? If faith is all that matters, do we even need them?” Father (V.O.): “What would people have faith in, if not their God?” Elloinn (V.O.): “People could just have faith in the goodness of the heart. Then all of this trouble with the Gods wouldn’t exist.” Panel 3: Elloinn and her father are looking at each other now. Father: “It’s a beautiful concept Elloinn, but most people don’t think like that. They need an all-powerful being to direct their faith towards; it makes it easier on them.” Elloinn: “It sounds like people only like it because it means they don’t have to take responsibility for themselves, they just have faith in the Gods, and the Gods do it for them.” Father: “I don’t think that’s true for everyone, but you may be right about most. Some people have to be shown that you need to take responsibility for your actions.” Page 19: Panel 1: The ex-priest is sitting at an outside café, or like a table on the sidewalk outside of a café. He is reading a newspaper which he has laid out on the table, and having a cigarette. Textbox: “Corruption. It’s all they know, and it’s eating away at them from the inside out.” Textbox: “I don’t blame them for it, their faith is flawed and it is their nature.” Panel 2: The ex-priest has stopped reading, and is staring up at the sky. Textbox: “However, I have seen the true face of their God, and it is a monster. And for that, I do blame them.” Textbox: “Left to its own devices, this God that they have created will bring about only destruction.” Panel 3: A young waitress is placing a coffee on the table in front of the ex-priest. Textbox: “Is it wrong of me to seek the end of this madness? How far is too far when it is all at stake?” Textbox: “I bring death and destruction now, in an attempt to prevent far worse in the future.” Panel 4: Ex-priest drops his almost finished cigarette in the half-drunk cup of coffee. Panel 5: The cigarette floats in the murky black liquid. Textbox: “I don’t blame them for their misguided actions…” Page 20: Bird’s eye of the street and surrounding buildings as ex-priest walks away from the café. Full page spread. It’s a nice area; large trees flank the street, mostly short 4 storey NY style apartments, the café, and an old looking theater. Textbox: “…but I will kill them to reach their God.” Category:Issue Scripts